The audiovisual sector has figured significantly in recent multilateral negotiations. Within this broad domain of cultural policy, and because of the hindrance they represent to the implementation of the ‘most favoured nation’ clause, local content regulations and the practice of international coproduction have received particular attention. This paper considers the contrasting approaches of the French and Australian governments to cinematic coproduction. Whilst the objectives of the two countries are ostensibly aligned, the mechanism for assessing eligible films varies tremendously, reflecting a fundamental difference in policy preoccupations. Drawing upon a discursive analysis of interviews, public speeches and unpublished correspondence, and juxtaposing this with specific policy instances, the paper will identify some of the underlying motives for international coproduction and, by extension, assess the potential of ‘cultural diversity’ to find its expression in the Australian film policy milieu.
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